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Part V
The Classical Period
1. Classicism, as a stylistic period in Western music, roughly encompassed the years ______.
A. 1450-1600
B. 1600-1750
C. 1750-1820
D. 1820-1900
Accessibility: Keyboard Navigation
Bloom's: Remember
Learning Objective: Summarize European culture in the classical era
Topic: Classicism
Feedback: The Classical period lasted from 1750-1820.
2. The preclassical period roughly encompassed the years ______.

A. 1600-1750
B. 1730-1770
C. 1770-1820
D. 1820-1900
Bloom's: Remember
Topic: Classicism
Feedback: In music history, the transition from the baroque style to the full flowering of the classical is called the preclassical
period; it extends from roughly 1730 to 1770.
3. The fully developed classical style in music flourished during the period ______.
A. 1600-1750
B. 1730-1770
C. 1770-1820
D. 1820-1900
Bloom's: Remember
Topic: Classicism
Feedback: The fully developed classical style in music flourished from about 1770 to 1820.
4. Which of the following statements is not true of the classical period?

A. Philosophers and writers in the classical period believed that custom and tradition, rather than reason, were the best guides to
human conduct.
B. During the early eighteenth century, the heavy, monumental baroque style gave way to the more intimate rococo style, with its
light colors, curved lines, and graceful ornaments.
C. By the late eighteenth century, the rococo style had been superseded by the neoclassical style, which attempted to recapture
the "noble simplicity and calm grandeur" of ancient Greek and Roman art.
D. Philosophers and writers in the classical period saw their time as a great turning point in history and called it the "age of
enlightenment."
Bloom's: Understand
Topic: Classicism
Feedback: Philosophers and writers—especially Voltaire (1694–1778) and Denis Diderot (1713–1784)—saw their time as a
turning point in history and referred to it as the “age of enlightenment.” They believed in progress, holding that reason, not
custom or tradition, was the best guide for human conduct.
5. Carl Philipp Emanuel Bach and _____ were two of the more important preclassical composers.
A. Jean Honoré Fragonard
B. Johann Christian Bach
5-1
Copyright © 2017 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent
of McGraw-Hill Education.
C. Johann Sebastian Bach
D. Joseph Haydn
Bloom's: Remember
Learning Objective: Know the important trends in European music from 1750 to 1820
Topic: Classical music
Feedback: Among the important pioneers in this new style were Carl Philipp Emanuel and Johann Christian, both sons of Johann
Sebastian Bach.
6. Which of the following composers is not considered a master of the classical period?
A. Johann Christian Bach
B. Ludwig van Beethoven
C. Wolfgang A. Mozart
D. Joseph Haydn
Bloom's: Remember
Feedback: Although Johann Christian Bach was an important early pioneer of the classical style, he is not considered a master of
the period.
7. Which of the following statements is not true?

A. In the classical period, composers were influenced by folk and popular music.
B. While a late baroque musical composition may convey a single emotion, a classical composition will fluctuate in mood.
C. Composers in the classical period continued to use terraced dynamics in their compositions.
D. The basso continuo was gradually abandoned during the classical period.
Bloom's: Understand
Topic: Dynamics
Feedback: Classical composers’ interest in expressing shades of emotion led to the widespread use of gradual dynamic change—
crescendo and decrescendo. These composers did not restrict themselves to the terraced dynamics (abrupt shifts from loud to
soft) characteristic of baroque music.
8. Which of the following characteristics is not typical of the music of the classical period?
A. Classical melodies are tuneful and easy to remember.
B. Classical compositions fluctuate in mood.
C. A classical composition has a wealth of rhythmic patterns.
D. Classical music is basically polyphonic.
Bloom's: Understand
Topic: Texture
Feedback: Music in the classical period generally avoided dense polyphony, favoring homophonic textures.
9. Which of the following statements is not true of the music of the classical period?
A. Classical composers stressed balance and clarity of structure.
B. The standard orchestra, comprised of four sections, evolved during the classical period.
C. The basso continuo was the nucleus of the instrumental ensemble.
D. Classical melodies are among the most tuneful and easy to remember.
Bloom's: Understand
Feedback: The basso continuo was a characteristic feature of baroque music and was eventually abandoned by classical
composers.
10. What did the typical orchestra of the classical period consist of?
5-2
A. A loose ensemble of available instruments
B. Strings, woodwinds, horns, trumpets, and timpani
C. Strings with harpsichord continuo
D. Woodwinds, trombones, drums, and strings
Bloom's: Remember
Learning Objective: List the instruments of the orchestra in the classical era
Feedback: A typical orchestra in the classical period might consist of:

Strings: 1st violins, 2nd violins, violas, cellos, double basses
Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons
Brass: 2 French horns, 2 trumpets
Percussion: 2 timpani
11. Which of the following instruments were not normally included in the classical orchestra?
A. Horns
B. Trombones
C. Timpani
D. Trumpets
Bloom's: Remember
Learning Objective: List the instruments of the orchestra in the classical era
Topic: Instrument families
Feedback: Trombones were used by Haydn and Mozart, but only in opera and church music, not in solely instrumental works.
There use became more common later, in Romantic-era music.
12. What is a symphony?

A. A sonata for orchestra
B. A work for solo instrument
C. A work for chorus and orchestra
D. A work for piano solo
Bloom's: Remember
Learning Objective: Describe the major forms of instrumental music in the classical era
Topic: Symphony
Feedback: Recall that the term sonata originally described a composition in several movements for one to eight instruments. In
the classical period, the amount of instruments grew into a larger orchestra, and the sonata became a symphony.
13. What was social mobility like during the classical period?
A. A limited sociological factor
B. Ruthlessly stamped out by the aristocracy
C. Promoted and encouraged by the church
D. An important factor in the rise of the middle class
Bloom's: Remember
Feedback: As the eighteenth century advanced, more people made more money, increasing social mobility. Merchants, doctors,
and government officials could afford larger homes, finer clothes, and better food, giving rise to a prospering middle class. In
fact, during the classical period, the middle class had a great influence on music.
14. Political and economic power shifted to the middle class from the aristocracy and the ______.
A. church
B. military
C. colonial powers
D. military-industrial complex
Bloom's: Remember
5-3
Feedback: With the rise of a prosperous middle class, the aristocracy, nobility, and the church lost some of their influence in
people's lives.
15. In the classical period, serious composition was flavored by ______.

A. folk and popular music
B. heroic and mythological plots
C. elaborately ornamented improvisational melodies
D. All answers are correct.
Bloom's: Understand
Feedback: In the classical period, serious composition was flavored by folk and popular music. The classical masters sometimes
used familiar tunes as themes for symphonies and variations.
16. The prospering middle class in the classical period sought aristocratic luxuries such as ______.
A. theater
B. literature
C. music
Bloom's: Remember
Feedback: The prospering middle class sought aristocratic luxuries like theater, literature, and music.
17. Public concerts presented by the Concert des Amateurs in Paris in the 1770s were conducted by ______.
A. Ludwig van Beethoven
B. Joseph Haydn
C. the Chevalier de Saint-Georges
D. Johann Christian Bach
Bloom's: Remember
Feedback: In Paris, a concert organization called the Concert des Amateurs assembled a large orchestra, conducted during the
1770s by the Chevalier de Saint-Georges (1739–1799), a black composer and violinist.

A. Political and economic power shifted during the classical period from the middle class to the aristocracy and the church.
B. Joseph Haydn's contract of employment shows that he was considered a skilled servant, like a gardener or gamekeeper.
C. Townspeople organized public concerts where, for the price of admission, they could hear the latest symphonies and
concertos.
D. Comic operas in the classical period treated middle-class subjects, had folklike tunes, and sometimes even ridiculed the
aristocracy.
Bloom's: Understand
Feedback: In the classical era, political and economic power shifted away from the aristocracy and the church and towards the
middle class.
19. Joseph Haydn was content to spend most of his life as what?
A. An independently wealthy composer
B. A professional free-lance musician
C. An employee of a wealthy aristocratic family
5-4
D. A church musician and organist
Bloom's: Remember
Learning Objective: Recall the biography of Franz Joseph Haydn
Topic: Franz Joseph Haydn
Feedback: For almost thirty years, starting when he was twenty-nine, Haydn entered the service of the Esterházys, the richest and
most powerful of the Hungarian noble families.
20. Haydn's contract of employment shows that he was considered ______.

A. a skilled servant
B. a freelance musician
C. a visiting guest composer
D. an equal by his employer
Bloom's: Remember
Feedback: As a highly skilled servant, Haydn was to compose all the music requested by his patron, conduct the orchestra, coach
singers, and oversee the instruments and the music library.
21. Vienna, when Haydn, Mozart, and Beethoven were active, ______.
A. was the fourth-largest city in Europe
B. was the seat of the Holy Roman Empire
C. had a population of almost 250,000
Bloom's: Remember
Learning Objective: Evaluate the importance of Vienna in the musical life of the classical era
Topic: Ludwig van Beethoven
Topic: Wolfgang Amadeus Mozart
Feedback: During the classical era, Vienna was a nexus of artistic, intellectual, and political life. As the seat of the Holy Roman
Empire, it was a bustling cultural and commercial center with a cosmopolitan character. Its population of almost 250,000 (in
1800) made Vienna the fourth largest city in Europe.
22. Composers in the classical period took middle-class tastes into account by doing what?
A. Flavoring their serious compositions with folk and popular music
B. Writing comic operas that sometimes ridiculed the aristocracy
C. Writing dance music for public balls
Bloom's: Understand
Feedback: Composers in the classical period took middle-class tastes into account, writing pieces that were easy for amateur
musicians to play and understand. They turned from serious to comic opera and incorporated folk melodies and dance rhythms
into their serious works. Often, they would hold performances of their works in public halls and theaters.
23. In the classical period, comic operas sometimes ______.

A. were based on the Old Testament
B. ridiculed the aristocracy
C. were in Latin
Bloom's: Remember
5-5
Feedback: Comic operas of the classical period appealed to middle-class subjects and used folklike tunes, sometimes even
ridiculing the aristocracy. They rarely included religious subjects and most of the operas were written in either French, Italian, or
German.
24. In Vienna, Haydn and Mozart ______.

A. avoided each other
B. became close friends
C. were jealous of each other
D. never met
Bloom's: Remember
Learning Objective: Evaluate the importance of Vienna in the musical life of the classical era
Topic: Wolfgang Amadeus Mozart
Feedback: In Vienna, Haydn and Mozart became close friends and influenced each other’s musical style.
25. Sonata form is used frequently as the form for the ________ movement of a multimovement work.
A. first
B. slow
C. final fast
Bloom's: Remember
Learning Objective: Know the structure of sonata (sonata-allegro) form
Topic: Sonata form
Feedback: The sonata form is flexible and can be used for the first (usually allegro), slow second, or final fast movements of a
multimovement work. It is not generally used for the third movement, which is usually based on a dance.
26. Which of the following is not part of a sonata form movement?

A. Recapitulation
B. Exposition
C. Development
D. Rondo
Bloom's: Remember
Topic: Sonata form
Feedback: Rondo is its own form, featuring a tuneful main theme (A) which returns several times in alternation with other
themes. It is not a part of sonata form.
27. Sonata form consists of three main sections: exposition, development, and ______.
A. introduction
B. recapitulation
C. motives
D. transition
Bloom's: Remember
Topic: Sonata form
Feedback: A sonata-form movement consists of three main sections: the exposition, where the themes are presented; the
development, where themes are treated in new ways; and the recapitulation, where the themes return.
28. In the exposition of a sonata-form movement, what happens?

A. The closing theme is in the tonic key.
B. A new theme is always presented in the bridge.
C. The second theme is in a new key.
D. A new meter enters with the second theme.
5-6
Bloom's: Remember
Topic: Sonata form
Feedback: In the exposition section of a sonata form, the first theme is presented in the tonic (home) key, the bridge contains
modulation from the home key to new key, leading into a second theme in the new key . The closing section is in the key of the
second theme.
29. In the recapitulation of a sonata-form movement, what happens?

A. The closing section is in the tonic key.
B. A new theme is presented in the bridge.
C. The second theme is in a new key.
D. There is no second theme.
Bloom's: Remember
Topic: Sonata form
Feedback: In the recapitulation section of a sonata form, the closing section returns to the tonic key, giving the entire form a
sense of balance and symmetry.
30. At the end of a classical exposition there usually is a ______.

A. new tempo indication
B. new time signature
C. repeat sign
D. coda sign
Bloom's: Remember
Topic: Sonata form
Feedback: At the end of a classical exposition there is usually a repeat sign to indicate that the whole exposition is to be played
again.

A. The development section of a sonata form almost always takes the main thematic material through several different keys.
B. The second theme returns in the recapitulation of a sonata form movement in an exact repetition of its statement in the
exposition.
C. The coda of a sonata form movement rounds off the movement by repeating themes or developing them further.
D. A fast movement in sonata form is sometimes preceded by a slow introduction that creates a strong feeling of expectancy.
Bloom's: Understand
Topic: Sonata form
Feedback: In the recapitulation, the first theme, bridge, second theme, and concluding section are presented more or less as they
were in the exposition, with one crucial difference: all the principal material is now in the tonic key. In the exposition, the second
them is presented in a new key.
32. A transitional passage that leads to a contrasting section is called a ______.

A. coda
B. theme
C. bridge
D. motive
Bloom's: Remember
Topic: Sonata form
Feedback: A bridge, or transition, leads to new, contrasting material, usually in the form of a second theme.
33. A modulation from the home key to a new key in the exposition of a sonata form movement takes place in the ______.
5-7
A. coda
B. theme
C. bridge
D. motive
Bloom's: Remember
Topic: Sonata form
Feedback: The bridge in the exposition section of a sonata movement is used to modulate from the first theme in the tonic key to
a second theme in a new key.
34. A feeling of harmonic tension and forward motion is created in the exposition of a sonata form movement by ______.
A. the conflict of tonalities between the first and second themes
B. the introduction of a new theme in the bridge
C. retaining the same tonality for both themes
D. changing the meter of the second theme
Bloom's: Understand
Topic: Sonata form
Feedback: In the exposition, the modulation from the home key to a new key creates a feeling of harmonic tension and forward
motion.
35. Short musical ideas or fragments of themes that are developed within a composition are called ______.
A. codas
B. rides
C. melodies
D. motives
Bloom's: Remember
Topic: Sonata form
Feedback: Motives are short musical ideas developed within a composition. A motive can sound very different depending on how
it is treated; it can be taken through changes of melody, rhythm, or dynamics.
36. The three main sections of a sonata-form movement are often followed by a concluding section known as the ______.
A. coda
B. theme
C. bridge
D. motive
Bloom's: Remember
Topic: Sonata form
Feedback: A composer can give a sonata movement a powerful feeling of conclusion by following the recapitulation with a coda.
A coda rounds off a movement by repeating themes or developing them further. It always ends in the tonic key.
37. How should the sonata form be viewed as?

A. A rigid mold into which musical ideas are poured
B. Another term for the symphony
C. A set of principles that serve to shape and unify contrasts of theme and key
D. A set of variations on a theme
Bloom's: Understand
Topic: Sonata form
Feedback: The sonata form is a flexible structure and set of principles that allow composers to shape material through contrasts of
themes and keys.
5-8
38. Each successive variation in a theme with variations ______.
A. retains some elements of the theme
B. is usually in a new key
C. is usually in the same key
D. presents a new melodic idea
Bloom's: Understand
Learning Objective: Know the structure of a theme and variations movement
Topic: Theme and variations
Feedback: In a theme-and-variations form, each variation is usually about the same length as the theme. However, each variation
has its own identity, created through changes of melody, rhythm, harmony, accompaniment, dynamics, or tone color. The core
melody may appear in the bass, or it may be repeated in a minor key instead of a major key.
39. Theme-and-variations form may be schematically outlined as ______.

A. AABB
B. AA'A''A'''A''''
C. ABA
D. ABACADA
Bloom's: Remember
Feedback: In a theme and variations, a basic musical idea—the theme—is repeated over and over and is changed each time. This
form may be outlined as theme (A)—variation 1 (A )— variation 2 (A )—variation 3 (A ), and so on.

A. Each variation in a theme-and-variations form is unique and may differ in mood from the theme.
B. The form called theme and variations is widely used in the classical period, either as an independent piece or as one movement
of a symphony, sonata, or string quartet.
C. The recapitulation section is an important way for a composer to develop variations in a theme-andvariations form.
D. In a theme-and-variations movement, a basic musical idea is repeated over and over and is changed each time.
Bloom's: Understand
Feedback: A theme and variations does not contain a recapitulation section; that appears only in sonata form.
41. Which of the following elements is usually not changed in varying the theme in theme-and-variations form?
A. Melody
B. Harmony
C. Length
D. Rhythm
Bloom's: Understand
Feedback: Changes of melody, rhythm, harmony, accompaniment, dynamics, or tone color may be used to give a variation its
own identity, but the length of each variation is roughly the same.
42. The _________ movement of Haydn's Surprise Symphony is in theme-and-variations form.

A. first
B. second
C. third
D. fourth
Bloom's: Apply
5-9
Feedback: The second movement (andante) of Haydn’s Symphony No. 94 in G Major (Surprise Symphony) is a theme and
variations.
43. The minuet-and-trio movement of a classical symphony, string quartet, or other work, is in ____________ form.
A. ABA
B. AABB
C. AA'A''A'''A''''
D. ABACABA
Bloom's: Remember
Learning Objective: Know the structural pattern of a minuet and trio
Topic: Minuet and trio
Feedback: The minuet and trio is in ternary form (A B A): minuet (A), trio (B), minuet (A).
44. The movement of a symphony that is often patterned after a dance is the ______.
A. first
B. second
C. third
D. fourth
Bloom's: Understand
Feedback: The minuet and trio, or minuet, is often used as the third movement of classical symphonies, string quartets, and other
works. Like the movements of the baroque suite, the minuet originated as a dance. Sometimes, a scherzo was used instead of a
minuet.
45. The minuet first appeared around 1650 as a(n) ______.

A. instrumental composition for concert performance
B. prayer in Germany at the end of the Thirty Years War
C. dance at the court of Louis XIV of France
D. country dance in England
Bloom's: Remember
Feedback: The minuet first appeared at the court of Louis XIV of France around 1650 and was danced by aristocrats throughout
the eighteenth century.
46. The character of the minuet is best described as ______.

A. brisk and lively
B. quiet and relaxed
C. heavy and ponderous
D. stately and dignified
Bloom's: Understand
Feedback: The minuet was a stately, dignified dance in which the dancing couple exchanged curtsies and bows.
47. The minuet is in _______ meter.

A. duple
B. triple
C. quadruple
D. common
Bloom's: Remember
5-10
Feedback: The minuet is a waltz-type dance, in triple meter.
48. Which of the following is not a characteristic of the minuet?

A. Triple meter
B. Moderate tempo
C. Quick, lively tempo
D. ABA form
Bloom's: Understand
Feedback: The minuet was written in ABA form, in triple meter, and at a moderate tempo. If the tempo was too quick or lively,
the audience would have difficulty dancing in a stately, dignified manner.

A. The minuet movement of a symphony or string quartet is almost always the last movement.
B. The character of the minuet is best described as brisk and lively.
C. In many of Beethoven's compositions, the third movement is not a minuet but a related form in triple meter called a scherzo.
D. The scherzo differs from the minuet in that it moves more quickly, generating energy, rhythmic drive, and rough humor.
Bloom's: Understand
Feedback: The character of a minuet is stately and dignified, not brisk or lively (that description is more appropriate for a scherzo
or allegro movement).
50. In many of Beethoven's works, there is a _______ movement instead of the minuet.
A. presto
B. scherzo
C. fugato
D. ritornello
Bloom's: Remember
Feedback: In many of Beethoven’s compositions, the third movement is not a minuet but a related form called a scherzo. Like a
minuet, a scherzo is usually in ABA form and triple meter, but it moves more quickly, generating energy, rhythmic drive, and
rough humor. (Scherzo is Italian for joke.)
51. The scherzo differs from the minuet in that it ______.

A. moves more quickly
B. has a different form
C. has a different meter
Bloom's: Understand
Feedback: Similar to a minuet, a scherzo is usually in A B A form and triple meter, but it moves more quickly, generating energy,
rhythmic drive, and rough humor.
52. A _____________ is a musical composition that is usually light in mood, and meant for evening entertainment.
A. minuet and trio
B. aubade
C. serenade
5-11
D. rondo
Bloom's: Remember
Feedback: A serenade is a work that’s usually light in mood, meant for evening entertainment.
53. The double bass in the classical orchestra, as in Mozart's Eine Kleine Nachtmusik, often does what?
A. Has a separate and distinct bass part
B. Doubles the cello part in the same register
C. Doubles the cello part an octave lower
D. Plays only accents on stressed beats
Bloom's: Understand
Feedback: The double bass, in the context of an orchestra, often doubles the cello part an octave lower, to reinforce the
fundamental tones of the harmony.
54. When performers encounter the phrase, da capo, they ______.

A. play extremely quietly
B. look at the conductor
C. play the written part an octave higher
D. return to the beginning of the piece and repeat the music
Bloom's: Remember
Feedback: Da capo means "from the beginning," indicating that the performer should return to the beginning of the piece and
repeat the music until further direction.
55. The rondo may be schematically outlined as _______.

A. ABACABA
B. AABB
C. ABBABC
D. ABA
Bloom's: Remember
Learning Objective: Know the structural pattern of a rondo
Topic: Rondo
Feedback: A rondo form establishes a main theme that returns often, alternating with contrasting sections. Common rondo
patterns are ABACA and ABACABA.
56. The main theme in a rondo movement is usually ______.

A. lively, pleasing, and simple to remember
B. stately and dignified
C. extremely fast
D. slow, grave, and mournful
Bloom's: Understand
Topic: Rondo
Feedback: In a rondo, the main theme is usually lively, pleasing, and simple to remember, so that the listener can easily recognize
its return.
57. Which of the following is not true about the rondo?

A. Its use ended in the classical period.
B. The main theme is usually lively, pleasing, and simple to remember.
5-12
C. It features alternating and contrasting sections.
D. It was often combined with elements of sonata form.
Bloom's: Understand
Topic: Rondo
Feedback: The popularity of the rondo did not end with the classical period. It was used by twentieth-century composers such as
Igor Stravinsky and Arnold Schoenberg.
58. The return of the main theme in rondo form is all the more welcome because it is usually ______.
A. in a contrasting key
B. in the tonic key
C. slow and dignified
D. in varied form
Bloom's: Understand
Topic: Rondo
Feedback: The return of the main theme is usually stated in the tonic key, making it welcome after contrasting sections.
59. The sonata-rondo ______.

A. may be outlined as ABA-development section-ABA
B. combines rondo form with elements of sonata form
C. usually has a lively, pleasing, and simple to remember theme
Bloom's: Understand
Topic: Rondo
Feedback: A sonata-rondo combines elements of a rondo, such as a lively, pleasing, simple theme with those of a sonata, such as
a development section.
60. The main theme of the rondo does what?

A. Returns only once in the movement
B. Is usually slow and dignified
C. Seldom ends the movement
D. Is usually in the tonic key
Bloom's: Remember
Topic: Rondo
Feedback: The main theme of a rondo, is usually in the tonic key, is lively, returns frequently throughout the movement, and
closes the movement.
61. Because of its character, the rondo most often serves as a ______.
A. slow movement
B. first movement
C. set of variations
D. finale
Bloom's: Remember
Topic: Rondo
Feedback: A rondo often serves as a finale, because its liveliness, regularity, and buoyancy bring a happy sense of conclusion.
62. The rondo was used ______.

A. only in the classical symphony and quartet
B. only as an independent composition
5-13
C. as late as the twentieth century
D. exclusively in the classical period
Bloom's: Remember
Topic: Rondo
Feedback: The rondo was used either as an independent piece or as one movement of a symphony, string quartet, or sonata. Its
popularity lasted through to the twentieth century, used by composers such as Igor Stravinsky and Arnold Schoenberg.

A. A rondo movement features a tuneful main theme which returns several times in alternation with other themes.
B. The rondo as a musical form was not used in musical compositions after the classical period.
C. A common rondo pattern is ABACABA.
D. Rondo form is often combined with elements of sonata form to produce the sonata-rondo.
Bloom's: Understand
Topic: Rondo
Feedback: The popularity of the rondo did not end with the classical period. It was used by twentieth-century composers such as
Igor Stravinsky and Arnold Schoenberg.
64. What is a symphony?

A. A musical composition for orchestra, usually in four movements
B. A work typically lasting between 20 and 45 minutes
C. An extended, ambitious composition exploiting the expanded range of tone color and dynamics of the classical orchestra
Bloom's: Remember
Learning Objective: Know the pattern of movements in a symphony of the classical era
Topic: Symphony
Feedback: A symphony is an extended, ambitious composition typically lasting between 20 and 45 minutes, exploiting the
expanded range of tone color and dynamics of the classical orchestra. A classical symphony usually consists of four movements
which evoke a wide range of emotions through contrasts of tempo and mood.
65. The usual order of movements in a classical symphony is ______.

A. fast, dance-related, slow, fast
B. fast, slow, dance-related, fast
C. fast, slow, fast, slow
D. slow, fast, slow, fast
Bloom's: Remember
Topic: Symphony
Feedback: A typical sequence is (1) a vigorous, dramatic fast movement; (2) a lyrical slow movement; (3) a dancelike movement
(minuet or scherzo); and (4) a brilliant or heroic fast movement.
66. The first movement of a classical symphony is almost always fast, and in _____ form.
A. sonata
B. rondo
C. minuet
D. ABA
Bloom's: Remember
Topic: Symphony
Feedback: Classical composers almost always wrote the first movement of a symphony is sonata form.
67. Which of the following is not true of the symphony?

5-14
A. It is a musical composition for orchestra, usually in four movements.
B. It is a sonata for orchestra.
C. It is an extended, ambitious composition exploiting the expanded range of the color and dynamics of the classical orchestra.
D. It is a musical composition for solo instrument and orchestra.
Bloom's: Understand
Topic: Symphony
Feedback: A symphony can be thought of as a sonata for orchestra. It is an extended, ambitious composition that is usually in
four movements. A composition for solo instrument and orchestra is known as a concerto.
68. The slow movement of a symphony is usually not ______.

A. the second movement
B. likely to feature broad, songlike melodies
C. in the tonic key
Bloom's: Understand
Topic: Symphony
Feedback: Unlike the other movements in the symphony, the slow movement is generally not in the tonic key.

A. In most classical symphonies, each movement is a self-contained composition with its own themes.
B. Beethoven's concluding movement of a symphony tends to be triumphant and heroic in character and sometimes is meant as
the climax of the whole symphony.
C. The opening movement of a classical symphony is almost always slow and in ABA form.
D. A classical symphony usually consists of four movements that evoke a wide range of emotions through contrasts of tempo and
mood.
Bloom's: Understand
Topic: Symphony
Feedback: The opening movement of a classical symphony is usually quick and lively and in sonata form.
70. The lyrical slow movement of a symphony is most often the ______.
A. first
B. second
C. third
D. fourth
Bloom's: Understand
Topic: Symphony
Feedback: The slow movement of a symphony is most often the second.
71. The slow movement of a classical symphony ______.

A. is usually in theme and variations form
B. is generally not in the tonic key
C. tends to be more heroic and triumphant in character
Bloom's: Understand
Topic: Symphony
Feedback: The second movement of a symphony is mostly used to provide contrast and is rarely in the tonic key. It is generally
slow and can be in a variety of forms, such as sonata, rondo, or theme and variations.
5-15
72. The last movement of a classical symphony ______.
A. is most often in sonata or sonata-rondo form
B. is usually fast, lively, and brilliant, but somewhat lighter in mood than the opening movement
C. is always in the tonic key of the symphony
Bloom's: Understand
Topic: Symphony
Feedback: The fourth, concluding movement of a classical symphony is usually fast, lively, and brilliant. It is always in the tonic
key and in sonata or sonata-rondo form.
73. One way that unity is often achieved in the classical symphony is by the use of the same ______.
A. key in three of its four movements
B. theme in each of its four movements
C. key in all four movements
D. rhythm in all four movements
Bloom's: Understand
Topic: Symphony
Feedback: In most classical symphonies, each movement is a self-contained composition with its own set of themes. A theme in
one movement will only rarely reappear in a later movement. But a symphony is unified partly by the use of the same key in
three of its movements.
74. A classical concerto usually lasts around _______.

A. 5 minutes
B. 20 to 45 minutes
C. an hour
D. 10 to 20 minutes
Bloom's: Remember
Learning Objective: Know the movements and characteristics of a concerto of the classical era
Topic: Concerto
Feedback: Like symphonies, concertos can last anywhere from twenty minutes to forty-five minutes.
75. A classical concerto is a three-movement work for ______.

A. instrumental soloist and orchestra
B. symphonic orchestra
C. instrumental soloist and piano
D. vocal soloist and orchestra
Bloom's: Remember
Topic: Concerto
Feedback: A classical concerto is a three-movement work for an instrumental soloist and orchestra. It combines the soloist’s
virtuosity and interpretive abilities with the orchestra’s wide range of tone color and dynamics.

A. A classical concerto combines the virtuosity and interpretive abilities of a soloist with the wide range of tone color and
dynamics of the orchestra.
B. Cadenzas in a classical concerto were indicated in the score by a fermata, and the soloist was expected to improvise, there
being no music in the score at that point.
C. A typical sequence of movements in a classical concerto is fast, slow, dance-related, fast.
D. The first movement of a classical concerto is in sonata form, but has two expositions, one for the orchestra and one for the
soloist.
Bloom's: Understand
5-16
Topic: Concerto
Feedback: In contrast to a symphony’s four movements, a classical concerto has three: (1) fast, (2) slow, and (3) fast. A concerto
has no dance-related movement.
77. The favored solo instrument in the classical concerto was the ______.
A. harpsichord
B. cello
C. piano
D. clarinet
Bloom's: Remember
Topic: Concerto
Feedback: Although classical concertos featured different solo instruments (violin, cello, horn, trumpet, clarinet, and bassoon) the
piano was the most favored and featured instrumental soloist.
78. What is the essence of a classical concerto?

A. Development of a single theme over the course of the work
B. Dance-related third movement
C. Use of fugal techniques
D. Interplay between a soloist and the orchestra
Bloom's: Understand
Topic: Concerto
Feedback: The main purpose of a concerto is to display the interplay, or dialogue, between a soloist and the orchestra.
79. A typical sequence of movements in a classical concerto is ______.

A. fast, slow, fast
B. slow, fast, slow
C. fast, dance-related, fast
D. fast, slow, dance-related, fast
Bloom's: Remember
Topic: Concerto
Feedback: A classical concerto is typically in three movements: fast, slow, fast.
80. The first movement of a classical concerto ______.

A. is in the same form as a classical symphony
B. has two expositions
C. is usually a long cadenza
D. does not have a development section
Bloom's: Remember
Topic: Concerto
Feedback: A classical concerto begins with a movement in sonata form, containing two expositions. The first is played by the
orchestra, which presents several themes in the home key. The second exposition begins with the soloist’s first notes.
81. The classical concerto differs from the symphony in that it does not have a ___________ movement.
A. sonata form
B. slow
C. minuet or scherzo
D. rondo finale
Bloom's: Understand
5-17
Topic: Concerto
Feedback: A classical concerto has no dance-related movement, such as a minuet or scherzo.
82. A classical concerto greatly relies on a soloist's ______.

A. education
B. independence
C. virtuosity
D. ability to conduct
Bloom's: Understand
Topic: Concerto
Feedback: Concertos have many sections that require a soloist to have a certain level of virtuosity; they are often showpieces for
a soloist, especially the cadenza section.
83. A brilliant solo section in a concerto designed to display the performer's virtuosity is called ______.
A. a cadenza
B. a fermata
C. a pause
D. da capo
Bloom's: Remember
Topic: Concerto
Feedback: In the first movement and sometimes in the last movement, there is a special unaccompanied showpiece for the soloist,
the cadenza (Italian for cadence).
84. A pause in the score of a concerto, preceding a cadenza, is indicated by a ______.

A. signal from the soloist
B. signal from the concertmaster
C. signal from the conductor
D. fermata
Bloom's: Remember
Topic: Concerto
Feedback: The pause before a cadenza is indicated in the score by a fermata, which is placed over a suspenseful chord. The
suspense leads into the entry of the soloist’s cadenza.
85. Classical chamber music is designed ______.

A. to display the virtuosity of the players
B. for the intimate setting of a small room
C. exclusively for performance by paid professional musicians
D. to be conducted by experienced orchestral directors
Bloom's: Understand
Learning Objective: Know the characteristics of classical chamber music
Topic: Chamber music
Feedback: Classical chamber music is designed for the intimate setting of a room (chamber) in a home or palace, rather than for a
public concert hall. Chamber music was often written for nonprofessional musicians of the aristocracy or middle class.
86. The most important form of classical chamber music is the ______.
A. piano trio
B. string quintet
C. string quartet
D. violin and piano sonata
5-18
Bloom's: Remember
Feedback: The most important form in classical chamber music is the string quartet, written for two violins, a viola, and a cello.
Haydn, Mozart, and Beethoven wrote some of their most important music in this form.
87. A major factor that distinguishes chamber music from the symphony or concerto is that chamber music ______.
A. does not use sonata form
B. is performed in concert halls
C. does not have difficult parts
D. is performed by one player per part
Bloom's: Remember
Feedback: Chamber music is performed by a small group of two to nine musicians, with one player to a part.
88. The string quartet ______.

A. usually consists of four movements
B. is the most important form in classical chamber music
C. is written for two violins, viola, and cello
Bloom's: Remember
Feedback: The string quartet is the most important form in classical chamber music. It is written for two violins, a viola, and a
cello and usually consists of four movements.
89. The classical string quartet is a musical composition for ______.

A. violin, viola, cello, and bass
B. two violins, viola, and cello
C. violin, guitar, viola, and cello
Bloom's: Remember
Feedback: The instrumentation for a string quartet is: two violins, viola, and cello. This provides the most flexibility and range
for musical ideas.

A. Classical chamber music does not need a conductor.
B. The piano trio is a musical composition for three pianos.
C. Chamber music is subtle and intimate, intended to please the performer as much as the listener.
D. String quartet is the most important form of chamber music.
Bloom's: Understand
Feedback: The piano trio is a chamber piece written for violin, cello, and piano.
91. The usual order of movements in a classical string quartet is ______.

A. fast, slow, minuet or scherzo, fast
B. fast, slow, fast, slow
C. slow, fast, slow, fast
D. fast, rondo, fast
5-19
Bloom's: Remember
Feedback: A string quartet is similar to a symphony in the way its four movements unfold: (1) fast, (2) slow, (3) minuet or
scherzo, (4) fast.
92. The piano trio is a musical composition for ______.

A. three pianos
B. violin, piano, and continuo
C. violin, cello, and piano
D. piano and two violins
Bloom's: Remember
Feedback: The piano trio was written for violin, cello, and piano.
93. Haydn was fortunate in having a long and fruitful, as well as financially stable, relationship with the noble Hungarian family
of ______.
A. Esterházy
B. Stefanházy
C. Liszt
D. Kadar
Bloom's: Remember
Feedback: For almost thirty years, Haydn composed most of his music for performance in the palaces of the Esterházys, the
family who employed him.
94. Which of the following was not one of Haydn's duties while in the service of the Esterházys?
A. Composing all the music requested by his patron
B. Conducting the orchestra
C. Coaching the singers for operatic performances
D. Writing a cantata each week for Sunday services.
Bloom's: Remember
Feedback: Although Haydn's duties for the Esterházys included composing all the music requested by his patron, conducting the
orchestra, coaching singers, and overseeing the instruments and the music library, it did not include writing cantatas for church
services every Sunday.
95. Haydn's contract of employment shows that he was considered ______.

A. a skilled servant
B. a freelance musician
C. a visiting guest composer
D. an equal by his employer
Bloom's: Remember
Feedback: Although greatly respected and admired, Haydn was still subservient to his employers; he was a highly-skilled servant.
96. Although Haydn spent most of his time in Hungary, he often traveled to ________, where his music was performed often and
greatly admired.
A. Paris
5-20
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placed a small piece of paper upon which was written a letter of the
alphabet. When any wire was charged, the paper letters at each end
of it were attracted towards the metal balls, and in this way words
and sentences were spelled out. Many other systems more or less
on the same lines were suggested during the next fifty years, but
although some of them had considerable success in an experimental
way, they were all far too unreliable to have any commercial
success.
With the invention of the voltaic cell, inventors’ ideas took a new
direction. In 1812 a telegraph based upon the power of an electric
current to decompose water was devised by a German named
Sömmering. He used a number of separate wires, each connected to
a gold pin projecting from below into a glass vessel filled with
acidulated water. There were thirty-five wires in all, for letters and
numbers, and when a current was sent along any wire bubbles of
gas formed at the pin at the end of it, and so the letters or numbers
were indicated. This telegraph, like its predecessors, never came
into practical use. Oersted’s discovery in 1829 of the production of
magnetism by electricity laid the foundation of the first really practical
electric telegraphs, but little progress was made until the appearance
of the Daniell cell, in 1836. The earlier forms of voltaic cells polarized
so rapidly that it was impossible to obtain a constant current from
them, but the non-polarizing Daniell cell at once removed all difficulty
in this respect. In the year 1837 three separate practical telegraphs
were invented: by Morse in the United States, by Wheatstone and
Cooke in England, and by Steinheil in Munich.
The first telegraph of Wheatstone and Cooke consisted of five
magnetic needles pivoted on a vertical dial. The letters of the
alphabet were marked on the dial, and the needles were deflected
by currents made to pass through wires by the depression of keys,
so that two needles would point towards the required letter. Fig. 26 is
a sketch of the dial of this apparatus. This telegraph was tried
successfully on the London and North-Western Railway, over a wire
a mile and a half in length. Wheatstone and Cooke afterwards
invented a single-needle telegraph in which the letters were
indicated by movements of the needle to the right or to the left,
according to the direction of a
current sent through a coil of
wire. Wheatstone
subsequently produced an
apparatus which printed the
letters on paper.
In the United States,
Morse had thought out a
scheme of telegraphy in 1832,
but it was not until 1837 that
he got his apparatus into
working order. He was an
artist by profession, and for a
long time he was unable to
develop his ideas for lack of
money. After many efforts he
succeeded in obtaining a
State grant of £6000 for the
construction of a telegraph
line between Baltimore and
Washington, and the first
message over this line was
sent in 1844, the line being
thrown open to the public in
Fig. 26.—Dial of Five-Needle Telegraph. the following year. Amongst
the features of this telegraph
were a receiving instrument which automatically recorded the
messages on a moving paper ribbon, by means of a pencil actuated
by an electro-magnet; and an apparatus called a relay, which
enabled the recording instrument to be worked when the current was
enfeebled by the resistance of a very long wire. Morse also devised
a telegraphic code which is practically the same as that in use to-
day.
The great discovery of the German Steinheil was that a second
wire for the return of the current was not necessary, and that the
earth could be used for this part of the circuit.
In reading the early history of great inventions one is continually
struck with the indifference or even hostility shown by the general
public. In England the electric telegraph was practically ignored until
the capture of a murderer by means of it literally forced the public to
see its value. The murder was committed near Slough, and the
murderer succeeded in taking train for London. Fortunately the Great
Western Railway had a telegraph line between Slough and London,
and a description telegraphed to Paddington enabled the police to
arrest the murderer on his arrival. In the United States too there was
just the same indifference. The rate for messages on the line
between Baltimore and Washington was one cent for four words, and
the total amount taken during the first four days was one cent!
One of the simplest forms of telegraph is the single-needle
instrument. This consists of a magnetic needle fixed to a spindle at
the back of an upright board through which the spindle is passed. On
the same spindle, but in front of the board, is fixed a dial needle,
which, of course, moves along with the magnetic needle. A coil of
wire is passed round the magnetic needle, and connected to a
commutator for reversing the direction of the current. By turning a
handle to the left a current is made to flow through the coil, and the
magnetic needle moves to one side; but if the handle is turned to the
right the current flows through the coil in the opposite direction, and
the needle moves to the other side. Instead of a handle, two keys
may be used, the movement of the needle varying according to
which key is pressed. A good operator can transmit at the rate of
about twenty words a minute with this instrument. The Morse code,
which consists of combinations of dots and dashes, is used, a
movement of the dial needle to the left meaning a dot, and one to the
right a dash. The code as used in the single-needle instrument is
shown in Fig. 27.
Fig. 27.—Code for Single-Needle
Telegraph.
Needle instruments are largely used in railway signal cabins, but

for general telegraphic work an instrument called the Morse sounder
is employed. This consists of an electro-magnet which, when a
current is passed through it, attracts a small piece of iron fixed to one
end of a pivoted lever. The other end of this lever moves between
two stops. At the transmitting station the operator closes a battery
circuit by pressing a key, when the electro-magnet of the sounder at
the receiving station attracts the iron, and the lever flies from one
stop to the other with a sharp click, returning again as soon as the
circuit is broken. A dot is signalled when the lever falls back
immediately after the click, and a dash when it makes a short stay
before returning. Fig. 28 shows the code of signals for the Morse
telegraph.
Fig. 28.—The Morse Code.
In passing through a very long wire an electric current becomes

greatly reduced in strength owing to the resistance of the wire. If two
telegraph stations are a great distance apart the energy of the
current thus may be unequal to the task of making the electro-
magnet move the lever of the sounder so as to produce a click, but
this difficulty is overcome by the use of an ingenious arrangement
called a “relay.” It consists of a very small electro-magnet which
attracts a light bar, the movement of the bar being made to close the
circuit of another battery at the receiving station. The feeble current
works the relay, and the current in the local circuit operates the
sounder.
The word “telegraph,” which is derived from the Greek tele, far
off, and grapho, I write, strictly signifies writing at a distance. The
needle instrument and the sounder do not write in any way, but by
modifying the construction of the sounder it can be made to record
the messages it receives. A small wheel is fitted to the free end of
the lever of the sounder, and an ink-well is placed so that the wheel
dips into it when the lever is in the normal position. When the circuit
is closed the lever moves just as in the ordinary sounder, but instead
of clicking against a stop it presses the inked wheel against a paper
ribbon which is kept slowly moving forward by clockwork. In this way
the wheel continues to mark a line along the paper as long as the
circuit remains closed, and according to the time the transmitting key
is kept down a short mark or dot, or a long mark or dash, is
produced. The clockwork which moves the paper ribbon is started
automatically by the current, and it continues working until the
message is finished.
Fig. 29.—A Morse Message.
(a) Perforated Tape. (b) Printed Tape.
TRANSLATION.
Series of alternate dots and dashes indicating commencement of message.
Sec (section) A. D. T. (Daily Telegraph) Fm (from) Berri, Antivari.
Then follow the letters G. Q., signifying fresh line.
They hd (had) bn (been) seen advancing in t (the) distance and wr (were)
recognised by thr (their) usual uniform wh (which) consists o (of) a white fez.
Finally double dots indicating full stop.
A good Morse operator can maintain a speed of about thirty
words a minute, but this is far too slow for certain kinds of
telegraphic work, such as the transmission of press news, and for
such work the Wheatstone automatic transmitter is used. First of all
the messages are punched on a paper ribbon. This is done by
passing the ribbon from right to left by clockwork through a punching
machine which is provided with three keys, one for dots, one for
dashes, and the other for spaces. If the left-hand key is pressed, two
holes opposite to one another are made, representing a dot; and if
the right-hand key is pressed, two diagonal holes are punched,
representing a dash. In Fig. 29, which shows a piece of ribbon
punched in this way, a third line of holes will be noticed between the
outside holes representing the dots and dashes. These holes are for
the purpose of guiding the paper ribbon steadily along through the
transmitting machine. The punched ribbon is then drawn by
clockwork through a Wheatstone transmitter. In this machine two
oscillating needles, connected with one pole of a battery, are placed
below the moving ribbon. Each time a hole passes, these needles
make contact with a piece of metal connected with the other pole of
the battery, thus making and breaking the circuit with much greater
rapidity than is possible with the Morse key. At the receiving station
the messages are recorded by a form of Morse inker, coming out in
dots and dashes as though sent by hand. Below the punched ribbon
in Fig. 29 is shown the corresponding arrangement of dots and
dashes. The same punched ribbon may be used repeatedly when
the message has to be sent on a number of different lines. The
Wheatstone automatic machine is capable of transmitting at the rate
of from 250 to 400 words a minute. Fig. 29 is a fragment of a Daily
Telegraph Balkan War special, as transmitted to the Yorkshire Post
over the latter’s private wire from London to Leeds. In the translation
it will be seen that many common words are abbreviated.
One weak point of telegraphy with Wheatstone instruments is
that the messages are received in Morse code, and have to be
translated. During recent years telegraphs have been invented which
actually produce their messages in ordinary written or printed
characters. A very ingenious instrument is the Hughes printing
telegraph, which turns out messages in typewritten form. Its
mechanism is too complicated to be described here, but in general it
consists of a transmitter having a keyboard something like that of a
typewriter, by means of which currents of electricity are made to
press a sheet of paper at the right instant against a revolving type-
wheel bearing the various characters. This telegraph has been
modified and brought to considerable perfection, and in one form or
another it is used in European countries and in the United States.
In the Pollak-Virag system of telegraphy the action of light upon
sensitized photographic paper is utilized. An operator punches
special groupings of holes on a paper ribbon about 1 inch wide, by
means of a perforating machine resembling a typewriter, and the
ribbon is then passed through a machine which transmits by brush
contacts. The receiver consists of a very small mirror connected to
two vibrating diaphragms, which control its movements according to
the currents received, one diaphragm moving the mirror in a vertical
direction, and the other in a horizontal direction. The mirror reflects a
ray of light on to photographic bromide paper in the form of a moving
band about 3 inches in width, and the combined action of the two
diaphragms makes the mirror move so that the ray of light traces out
the messages in ordinary alphabetical characters. As it moves
forward after being acted upon by the light, the paper is
automatically developed and fixed, and then passed through drying
rollers. Although the writing is rather imperfect in formation it is quite
legible enough for most messages, but trouble occasionally occurs
with messages containing figures, owing to confusion arising from
the similarity of the figures, 3, 5, and 8. The whole process is carried
out with such rapidity that 40,000 or even more words can be
transmitted easily in an hour.
One of the most remarkable of present-day telegraphs is the
Creed high-speed automatic printing telegraph. This has been
devised to do away with hand working as far as possible, and to
substitute quicker and more accurate automatic methods. In this
system a perforated paper tape is produced by a keyboard perforator
at the sending station. This tape is just ordinary Wheatstone tape, its
perforations representing in the Morse code the message to be
transmitted; and the main advantage of the Creed perforator over the
three-key punching machine already described lies in the ease and
speed with which it can be worked. The keyboard contains a
separate key for each letter or signal of the Morse code, and the
pressing of any key brings into operation certain punches which
make the perforations corresponding to that particular letter. The
perforator can be worked by any one who understands how to use
an ordinary typewriter, and a speed of about 60 words a minute can
be maintained by a fairly skilful operator. If desired a number of
tapes may be perforated at the same time.
The tape prepared in this way is passed through a Wheatstone
transmitter, and long or short currents, according to the arrangement
of the perforations, are sent out along the telegraph line. At the
receiving station these signals operate a receiving perforator. This
machine produces another perforated tape, which is an exact copy
of the tape at the sending station, and it turns out this duplicate tape
at the rate of from 150 to 200 words a minute. There are two forms
of this receiving perforator, one worked entirely by electricity, and the
other by a combination of electricity and compressed air, both forms
serving the same purpose. The duplicate tape is then passed
through an automatic printer, which reproduces the message in large
Roman characters on a paper tape. The printer works at a speed of
from 80 to about 100 words a minute, and the printed tape is pasted
on a telegraphic form by a semi-automatic process, and the
message is then ready for delivery. Plate XI. shows a specimen of
the tape from the receiving perforator, and the corresponding
translation as turned out by the printer. This message formed part of
a leading article in the Daily Mail. Some idea of the wonderful
capabilities of the Creed system may be gained from the fact that by
means of it practically the whole contents of the Daily Mail are
telegraphed every night from London to Manchester and Paris, for
publication next morning.
One of the most remarkable features about present-day
telegraphy is the ease with which two or more messages can be sent
simultaneously over one line. Duplex telegraphy, or the simultaneous
transmission of two separate messages in opposite directions over
one wire, is now practised on almost every line of any importance. At
first sight duplex telegraphy seems to be an impossibility, for if we
have two stations, one at each end of a single wire, and each station
fitted with a transmitter and a receiver, it appears as if each
transmitter would affect not only the receiver at the opposite end of
the wire, but also the receiver at its own end, thus causing hopeless
confusion when both transmitters were in use at the same time. This
actually would be the case with ordinary telegraphic methods, but by
the use of a special arrangement all confusion in working is avoided.
PLATE XI.
By permission of Creed, Bille & Co. Ltd.
SPECIMEN OF THE WORK OF THE CREED HIGH-SPEED PRINTING

TELEGRAPH.
We have seen that a magnetic needle is deflected by a current
passing through a coil of wire placed round it, and that the direction
in which the needle is deflected depends upon the direction of the
current in the coil. Now suppose we place round the needle two coils
of wire, wound so that the current in one flows in a direction opposite
to that of the current in the other. Then, if we pass two equal
currents, one through each coil, it is evident that they will neutralize
one another, so that the needle will not be deflected at all. In a
duplex system one end of one of these coils is connected to earth,
say to a copper plate buried in the ground, and one end of the other
to the line wire. The two remaining ends are arranged as branches
leading off from a single wire connected with the transmitting key.
The whole arrangement of coils and needle is repeated at the other
end of the line. If now the transmitting key at station A is pressed, the
circuit is closed and a current flows along the single wire, and then
divides into two where the wire branches, half of it taking the path
through one coil and half the path through the other. Equal currents
thus flow through the oppositely wound coils, and the needle at
station A is not deflected. Leaving the coils, one of these equal
currents flows away to earth, while the other passes out along the
line wire. On its arrival at station B the current is able to pass through
only one of the coils round the needle, and consequently the needle
is deflected and the signal given. In this way the transmitting
operator at station A is able to signal to station B without affecting
the receiver at his own end, and similarly the operator at station B
can transmit to A without affecting the B receiver. Thus there can be
no confusion whether the transmitters are worked at different times
or simultaneously, for each transmitter affects only the receiver at the
opposite end of the line. The diagram in Fig. 30 will help to make
clearer the general principle. K and K¹ are the two transmitting keys
which close the circuit, and C and C¹ are the points at which the
current divides into two. Instead of coils and needles, electro-
magnets operating sounders may be used, such magnets having two
separate and oppositely wound coils, acting in exactly the same way
as the coils round the needles. The above description is of course
only a rough outline of the method, and in practice matters are more
complicated, owing to the necessity for carefully adjusted
resistances and for condensers. There is also another and different
method of duplexing a line, but we have not space to describe it.
Duplex telegraphy requires two operators at each end of the line,
one to send and the other to receive.
Diplex telegraphy is the simultaneous transmission of two
separate messages in the same direction over one line. Without
going into details it may be said that for this purpose two different
transmitting keys are required, one of which alters the direction, and
the other the strength of the current though the line wire. The
receivers are arranged so that one responds only to a strong current,
and the other only to a current in one particular direction. A line also
may be quadruplexed, so that it is possible to transmit
simultaneously two messages from each end, four operators being
required at each station, two to transmit and two to receive. Systems
of multiplex telegraphy have been devised by which very large
numbers of messages can be sent at once over a single wire, and
the Baudot multiplex telegraph has proved very successful.
Fig. 30.—Diagram to illustrate principle of Duplex Telegraphy.
The wires for telegraphic purposes may be conveyed either

above or below the ground. Overground wires are carried on poles
by means of insulators of porcelain or other non-conducting material,
protected by a sort of overhanging screen. The wires are left bare,
and they are generally made of copper, but iron is used in some
cases. In underground lines the wires formerly were insulated by a
covering of gutta-percha, but now paper is generally used. Several
wires, each covered loosely with thoroughly dry paper, are laid
together in a bundle, the whole bundle or cable being enclosed in a
strong lead pipe. The paper coverings are made to fit loosely so that
the wires are surrounded by an insulating layer of dry air. As many
as 1200 separate wires are sometimes enclosed in one pipe. In
order to keep telegraph lines in working order frequent tests are
necessary, and the most important British Postal Telegraph lines are
tested once a week between 7.30 and 7.45 a.m. The earth is
generally used for the return circuit in telegraphy, and the ends of the
return wires are connected either to metal plates buried in the
ground to a depth at which the earth is permanently moist, or to iron
gas or water pipes. The current for telegraph working on a small
scale is usually supplied by primary cells, the Daniell cell being a
favourite for this purpose. In large offices the current is generally
taken from a battery of storage cells.
During the early days of telegraphy, overhead lines were a
source of considerable danger when thunderstorms were taking
place. Lightning flashes often completely wrecked the instruments,
giving severe shocks to those in the vicinity, and in a few cases
operators were killed at their posts. Danger of this kind is now
obviated by the use of contrivances known as lightning arresters.
There are several forms of these, but only one need be mentioned.
The main features of this are two metal plates separated slightly
from one another, so that there is a small air gap between them. One
plate is connected to the line wire, and the other to earth. Almost all
lightning flashes consist of an oscillatory discharge, that is one which
passes a number of times backwards and forwards between a cloud
and the earth. A very rapidly alternating discharge of this kind finds
difficulty in passing along the line wire, being greatly impeded by the
coils of wire in the various pieces of apparatus; and although the
resistance of this air gap is very high, the lightning discharge will
cross the gap sooner than struggle along the line wire. In this way,
when a flash affects the line, the discharge jumps the gap between
the plates of the arrester and passes away harmlessly to earth,
without entering the telegraph office at all. As was mentioned in
Chapter III., the prevalence of magnetic storms sometimes renders
telegraph lines quite unworkable for a time, but although such
disturbances cause great delay and general inconvenience, they are
not likely to be at all dangerous. It is often possible to maintain
telegraphic communication during magnetic disturbances by using
two lines to form a complete metallic loop, so that there is no earth
return.
CHAPTER XVII
SUBMARINE TELEGRAPHY
The story of submarine telegraphy is a wonderful record of dogged

perseverance in the face of tremendous obstacles and disastrous
failures. It would be of no interest to trace the story to its very
beginning, and so we will commence with the laying of the first cable
across the English Channel from Dover to Calais, in 1850. A single
copper wire covered with a layer of gutta-percha half an inch thick
was used, and leaden weights were attached to it at intervals of one
hundred yards, the fixing of each weight necessitating the stoppage
of the cable-laying ship. The line was laid successfully, but it failed
after working for a single day, and it afterwards turned out that a
Boulogne fisherman had hauled up the cable with his trawl. This line
proved that telegraphic communication between England and France
was possible, but the enterprise was assailed with every imaginable
kind of abuse and ridicule. It is said that some people really believed
that the cable was worked in the style of the old-fashioned house
bell, and that the signals were given by pulling the wire! In the next
year another attempt was made by Mr. T. R. Crampton, a prominent
railway engineer, who himself contributed half of the £15,000
required. The form of cable adopted by him consisted of four copper
wires, each covered with two layers of gutta-percha, and the four
enclosed in a covering formed of ten galvanized iron wires wound
spirally round them. The line proved a permanent success, and this
type of cable, with certain modifications, is still in use. In 1852 three
attempts were made to connect England and Ireland, but the first two
failed owing to the employment of cables too light to withstand the
strong tidal currents, and the third was somehow mismanaged as
regards the paying-out, so that there was not enough cable to reach
across. A heavier cable was tried in the next year, and this was a
lasting success.
The success of these two cables led to the laying of many other
European cables over similar distances, but we must now pass on to
a very much bigger undertaking, the laying of the Atlantic cable. In
1856 the Atlantic Telegraph Company was formed, with the object of
establishing and working telegraphic communication between Ireland
and Newfoundland, the three projectors being Messrs. J. W. Brett,
C. T. Bright, and C. W. Field. The British and the United States
Governments granted a subsidy, in return for which Government
messages were to have priority over all others, and were to be
transmitted free. The objections launched against the scheme were
of course many, some of them making very amusing reading. It is
however very strange to find so eminent a scientist as Professor
Airy, then Astronomer Royal, seriously stating that it was a
mathematical impossibility to submerge a cable safely to such
depths, and that even if this could be done, messages could not be
transmitted through such a great length of cable.
It was estimated that a length of about 2500 nautical miles would
be enough to allow for all contingencies, and the construction of the
cable was commenced in February 1857, and completed in June of
that year. It is difficult to realize the gigantic nature of the task of
making a cable of such dimensions. The length of copper wire used
in making the conductor was 20,500 miles, while the outer sheathing
took 367,500 miles of iron wire; the total length of wire used being
enough to go round the Earth thirteen times. The cable was finally
stowed away on board two warships, one British and the other
American.
The real troubles began with the laying of the cable. After landing
the shore end in Valentia Bay, the paying-out commenced, but
scarcely had five miles been laid when the cable caught in the
paying-out machinery and parted. By tracing it from the shore the
lost end was picked up and spliced, and the paying-out began again.
Everything went well for two or three days, and then, after 380 miles
had been laid, the cable snapped again, owing to some
mismanagement of the brakes, and was lost at a depth of 2000
fathoms. The cable had to be abandoned, and the ships returned to
Plymouth.
In the next year, 1858, another attempt was made, with new and
improved machinery and 3000 miles of cable, and this time it was
decided that the two ships should start paying-out from mid-ocean,
proceeding in opposite directions towards the two shores after
splicing their cables. On the voyage out the expedition encountered
one of the most fearful storms on record, which lasted over a week,
and the British man-of-war, encumbered with the dead weight of the
cable, came near to disaster. Part of the cable shifted, and those on
board feared that the whole of the huge mass would break away and
crash through the vessel’s side. Sixteen days after leaving Plymouth
the rendezvous was reached, the cables were spliced and the ships
started. After the British ship had paid out 40 miles it was discovered
that the cable had parted at some distance from the ship, and the
vessels once more sought each other, and spliced again ready for
another effort. This time the cable parted after each vessel had paid
out a little more than 100 miles, and the ships were forced to
abandon the attempt.
The failure of this second expedition naturally caused great
discouragement, and the general feeling was that the whole
enterprise would have to be given up. The chairman of the company
recommended that in order to make the best of a bad job the
remainder of the cable should be sold, and the proceeds divided
amongst the shareholders, but after great efforts on the part of a
dauntless few who refused to admit defeat, it was finally decided to
make one more effort. No time was lost, and on 17th July 1858 the
vessels again sailed from Queenstown. As before, the cables were
spliced in mid-ocean, and this time, after many anxious days, many
false alarms, and one or two narrow escapes from disaster through
faulty pieces of cable discovered almost too late, the cable was
landed successfully on both shores of the Atlantic early in August.
The Atlantic cable was now an accomplished fact, and dismal
forebodings were turned into expressions of extravagant joy. The
first messages passed between Queen Victoria and the President of
the United States, and amongst the more important communications
was one which prevented the sailing from Canada of two British
regiments which had been ordered to India during the Mutiny. In the
meantime the Indian Mutiny had been suppressed, and therefore
these regiments were not required. The dispatch of this message
saved a sum of about £50,000. The prospects of the cable company
seemed bright, but after a short time the signals began to grow
weaker and weaker, and finally, after about seven hundred
messages had been transmitted, the cable failed altogether. This
was a great blow to the general public, and we can imagine the bitter
disappointment of the engineers and electricians who had laboured
so hard and so long to bring the cable into being. It was a favourable
opportunity for the croakers, and amongst a certain section of the
public doubts were expressed as to whether any messages had
been transmitted at all.
A great consultation of experts took place with the object of
determining the cause of the failure, and the unanimous opinion was
that the cable had been injured by the use of currents of too great
intensity. Some years elapsed before another attempt could be
made, but the idea was never abandoned, and a great deal of study
was given to the problems involved. Mr. Field, the most energetic of
the original projectors, never relaxed his determination that the cable
should be made a success, and he worked incessantly to achieve
his ambition. It is said that in pursuance of his object he made sixty-
four crossings of the Atlantic, and considering that he suffered
greatly from sea-sickness every time this shows remarkable pluck
and endurance.
In 1865, new capital having been raised, preparations were
made for another expedition. It was now decided to use only one
vessel for laying the cable, and the Great Eastern was chosen for
the task. This vessel had been lying idle for close on ten years,
owing to her failure as a cargo boat, but her great size and capacity
made her most suitable for carrying the enormous weight of the
whole cable. In July 1865 the Great Eastern set sail, under the
escort of two British warships. When 84 miles had been paid out, a
fault occurred, and after drawing up about 10½ miles it was found
that a piece of iron wire had pierced the coating of the cable. The
trouble was put right, and the paying-out continued successfully until
over 700 miles had been laid, when another fault appeared. The
cable was again drawn in until the fault was reached, and another
piece of iron was found piercing clean through. It was evident that
two such pieces of iron could not have got there by accident, and
there was no doubt that they had been inserted intentionally by some
malicious scoundrel, most likely with the object of affecting the
company’s shares. A start was made once more, and all went well
until about two-thirds of the distance had been covered, when the
cable broke and had to be abandoned after several nearly
successful attempts to recover it.
In spite of the loss, which amounted to £600,000, the energetic
promoters contrived to raise fresh capital, and in 1866 the Great
Eastern started again. This effort was completely successful, and on
28th July 1866 the cable was landed amidst great rejoicing. The
following extracts from the diary of the engineer Sir Daniell Gooch,
give us some idea of the landing.
“Is it wrong that I should have felt as though my heart would
burst when that end of our long line touched the shore amid the
booming of cannon, the wild, half-mad cheers and shouts of the
men?... I am given a never-dying thought; that I aided in laying the
Atlantic cable.... The old cable hands seemed as though they could
eat the end; one man actually put it into his mouth and sucked it.
They held it up and danced round it, cheering at the top of their
voices. It was a strange sight, nay, a sight that filled our eyes with
tears.... I did cheer, but I could better have silently cried.”
This time the cable was destined to have a long and useful life,
and later in the same year the 1865 cable was recovered, spliced to
a new length, and safely brought to land, so that there were now two
links between the Old World and the New. It was estimated that the
total cost of completing the great undertaking, including the cost of
the unsuccessful attempts, was nearly two and a half millions
sterling. Since 1866 cable-laying has proceeded very rapidly, and to-
day telegraphic communication exists between almost all parts of the
civilized world. According to recent statistics, the North Atlantic
Ocean is now crossed by no less than 17 cables, the number of

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Feedback: The Classical period lasted from 1750-1820.

2. The preclassical period roughly encompassed the years ______.

4. Which of the following statements is not true of the classical period?

7. Which of the following statements is not true?

Feedback: A typical orchestra in the classical period might consist of:

12. What is a symphony?

15. In the classical period, serious composition was flavored by ______.

18. Which of the following statements is not true?

20. Haydn's contract of employment shows that he was considered ______.

23. In the classical period, comic operas sometimes ______.

24. In Vienna, Haydn and Mozart ______.

26. Which of the following is not part of a sonata form movement?

28. In the exposition of a sonata-form movement, what happens?

29. In the recapitulation of a sonata-form movement, what happens?

30. At the end of a classical exposition there usually is a ______.

31. Which of the following statements is not true?

32. A transitional passage that leads to a contrasting section is called a ______.

37. How should the sonata form be viewed as?

39. Theme-and-variations form may be schematically outlined as ______.

40. Which of the following statements is not true?

42. The _________ movement of Haydn's Surprise Symphony is in theme-and-variations form.

45. The minuet first appeared around 1650 as a(n) ______.

46. The character of the minuet is best described as ______.

47. The minuet is in _______ meter.

Feedback: The minuet is a waltz-type dance, in triple meter.

48. Which of the following is not a characteristic of the minuet?

49. Which of the following statements is not true?

51. The scherzo differs from the minuet in that it ______.

54. When performers encounter the phrase, da capo, they ______.

55. The rondo may be schematically outlined as _______.

56. The main theme in a rondo movement is usually ______.

57. Which of the following is not true about the rondo?

59. The sonata-rondo ______.

60. The main theme of the rondo does what?

62. The rondo was used ______.

63. Which of the following statements is not true?

64. What is a symphony?

65. The usual order of movements in a classical symphony is ______.

67. Which of the following is not true of the symphony?

68. The slow movement of a symphony is usually not ______.

69. Which of the following statements is not true?

Feedback: The slow movement of a symphony is most often the second.

71. The slow movement of a classical symphony ______.

74. A classical concerto usually lasts around _______.

75. A classical concerto is a three-movement work for ______.

76. Which of the following statements is not true?

78. What is the essence of a classical concerto?

79. A typical sequence of movements in a classical concerto is ______.

Feedback: A classical concerto is typically in three movements: fast, slow, fast.

80. The first movement of a classical concerto ______.

Feedback: A classical concerto has no dance-related movement, such as a minuet or scherzo.

82. A classical concerto greatly relies on a soloist's ______.

84. A pause in the score of a concerto, preceding a cadenza, is indicated by a ______.

85. Classical chamber music is designed ______.